Sad news for fans of live music in Spokane, WA. After a series of shootings outside the city’s outpost of the venerable Knitting Factory venue, city officials have revoked the space’s license, at least temporarily shutting down operations. The Spokesman-Review is reporting that local police had given the venue fair warning about the need to curb violent offenses associated with the space after having already responded to four separate shootings there this year. The two apparently gang-related events that took place on Sunday night pushed the department over the edge, with Police Chief Frank Straub stating, “We will not tolerate these acts of violence.”

While the shootings didn’t take place inside the music venue, they occurred after a third-party-hosted DJ showcase that we’re assuming the police think the culprits attended. What the venue could have done to prevent violent actions outside of its doors is unclear, but Spokane authorities seem to think that giving young people fewer places to go is a good solution to the problem of gang violence on the street. The Knitting Factory has 20 days to appeal the decision and they appear to be in the process of doing so, noting in an official statement that it’s “difficult to control what might happen outside the venue after the concert has ended…” While the venue’s site has their Friday show listed as cancelled, all shows beyond that date appear to still be happening.

If I ever run in to Matt Papich of Co La at a gas station, I know exactly how it’s going to go. Making sure he doesn’t see me, I’ll run inside to buy him a Coke. Back outside, I’ll place it on the hood of his car. I’ll stand perfectly still until he sees me. Eventually we’ll lock eyes and we’ll both smile. I’ll say “Co Ca” and he’ll say “Co La,” and we’ll go back and forth like that until his 2001 Geo Metro finishes filling up, at which point he’ll say, “Hey man, you want to come hang out at my house and talk about my new album?” And I’ll say, “Boy do I ever!”

Back at his place, he’ll crack open the soda I bought him, settle into his oversized recliner and say, “The new record is called Moody Coup. I guess you could call it a follow-up to Daydream Repeater (TMT Review). The brass at the label, Software Recording Co., tell me we’re going to be releasing it on May 7 of this year.” He’ll be able to tell that I’m pretty bummed I’ve got to wait that long, so he’ll say, “No worries, man, let’s listen to the first single right now. It’s called ‘Melter’s Delight,’ and if I do say so my self, it’s awfully delightful.” We’ll listen to it together:

As the hi-hat fades, we’ll both sit quiet for a minute, thinking about what choices in our lives brought us to this point. Eventually, he’ll break the silence, “You know, I really feel that this new album’s a departure for me.” He’ll talk for a long time about how “the bedrock of Moody Coup is [more] elusive and abstract” than Daydream Repeater, and about how all the “micro pieces” on the album “function mosaically, creating an impression at a macro level that is extremely potent as music as well as concept.” He’ll also probably mention the vocal contributions from Angel Deeradorian. I won’t understand all of it, but I’ll listen intently and try to say something smart about Erik Satie occasionally.

Just before sunrise, I’ll look at my watch in shock. I’ll scramble up, suddenly remembering the dentist appointment that I’d been headed to. He’ll apologize, but I’ll tell him it’s fine, I can always re-schedule. On the walk back to the gas station where I left my car, I’ll grin and think to myself how much better this went than the time I followed Avey Tare around the grocery store, waiting for the perfect moment to drop a case of applesauce into his cart.

Remember last fall when your weary eyes first feasted on the sensationally reported news that Stephen Malkmus would be covering the entirety of Can’s landmark album Ege Bamyasi at the too-hip-for-you WEEK-END fest in Cologne, Germany? And remember how you cursed the gods of experimental rock (whom, I guess, are just the members of Can, actually) because there was no way in hell that you’d be able to afford a trip to Cologne to see Steve and a bunch of badass German dudes he’d just met a few days earlier (including Sebastian Blume on synths, Felix Hedderich on bass, Jan Philipp Janzen on drums, and Phillip Tielsch on guitar) jam the crap out of the greatest album that you’ve never dared to pronounce out loud??

Well, forget all that, because commerce has once again come along and fixed everything. Matador announced that they’ll be wrapping the whole experience up in a nice little package and selling it to you this year on Record Store Day — that’s April 20, folks — for a lot less money than a round trip to Germany! Specifically, they’re releasing a “3500-copy limited edition on green vinyl” (Domino will also be releasing it on red vinyl in Europe) with a “hand-printed silkscreened sleeve… designed by David Shrigley, who also designed the poster for the event, inspired by the original artwork for Ege Bamyasi.” See? Green vinyl? Hand-printed?? Limited edition??? Sounds to me like supporting live music just became a waste of time!

You may not have heard of Rebecca Foon, but you’ve undoubtedly heard Rebecca Foon, assuming (like most of us) that you couldn’t help but dive deeper into darkness with the Godspeed You! Black Emperor side projects Set Fire to Flames, Thee Silver Mt. Zion Memorial Orchestra & Tra-La-La Band, and (less so on a musical level) Esmerine. The latter project was co-founded by Foon around 2003, and contrary to the tags on various music websites, it represented a mild shift away from the post-rock dystopia essentially trademarked by the former outfits. Foon’s cello remained, but more for the benefit of soundtracking a stroll through a lush and isolated garden than inspiring thoughts about societal ills.

Continuing her astronomical associations, Foon has just announced I Thought It Was Us But It Was All Of Us, the debut release from her brand-new Saltland project. Out May 14 on Constellation, the album contains a degree of previously unforeseen vocal incorporation, as, according to a press release, Foon herself “sings of childhood innocence lost, of tender utopia reveries and downcast dystopic horizons, and the search for soft, stoic strength in a darkening, devolving world.” So, the jury’s out on whether you’ll need to take anti-depressants after listening to this.

The cello continues its reign as the instrument of choice, but this time it’s accompanied by percussion and signal processing from Jamie Thompson (The Unicorns, Esmerine), and contributions from a host of others, including Colin Stetson, Sarah Neufeld and Richard Reed Parry (Arcade Fire), Mishka Stein (Patrick Watson), and Laurel Sprengelmeyer and Jess Robertson (Little Scream). The end result would seem to avoid pigeonholing, with the words “drone,” “shoegaze,” and “confessional folk” all being used in the same sentence, but beauty, on the other hand, seems like something to count on.

I Thought It Was Us But It Was All Of Us tracklisting:

01. Golden Alley
02. I Thought It Was Us
03. Treehouse Schemes
04. Unholy
05. But It Was All Of Us
06. Colour The Night Sky
07. ICA
08. Hearts Mend

Pendu Sound doesn’t play by the rules. So fuck tooth-rotting chocolate, juvenile teddy bears, and bouquets of gas station roses. For Pendu — the home of Chelsea Wolfe, Sasha Grey’s aTelecine, and White Ring, among others — this past Valentine’s Day was all about the singles. (Bad pun sorry whooooa Cathy ack.) See, the NYC-based label unveiled its SUPER SPECIAL ALL NEW single series on February 14, with the digital release of the track “Eyes Wide Wider” from the post-punk duo Tempers. Tempers, like many of the bands to be featured as part of the series, will release a full-length on Pendu later this year.

So what all is involved with this singles series? Well, you get a download of the main track, plus the accompanying video full of swirling guitars, forests, and people in creepy veils. In this case, Tempers’ “Eyes Wide Wider” was mixed by Damian Taylor, who has worked with Trust and Björk. You can peep the video below and stream before picking it up yourself from iTunes. Tempers are the NYC-based duo of Floridian collage artist Jasmine Golestaneh and !K7 and Eskimo recording artist Eddie Cooper.

English songwriter and bastion of the Canterbury scene Kevin Ayers has passed away at the age of 68.

In many ways, Kevin Ayers bore all the hallmarks of the psychedelic era. Hopelessly middle class and utterly radical, the songwriter has complete disregard for the trappings of what Western, capitalist civilisation could offer him.

Born in Herne Bay, Kent, in 1944, Ayers was brought up in Malaysia before returning to England. Educated at Simon Langton Grammar School For Boys, it was here that the aspiring musician formed his first group with two school friends.

As the psychedelic era dawned, The Wilde Flowers would shift into The Soft Machine as Kevin Ayers - together with band mates Robert Wyatt, Mike Ratledge and Daevid Allen - gently melted away the barriers placed on pop music.

Songs became longer, structures became distorted and free expression was encouraged via their myriad of modern jazz influences. A staggering live experience, The Soft Machine would often spar with The Pink Floyd - indeed, the two groups often shared a stage at vital London hotspot the UFO Club.

[…]Kevin Ayers again grew restless and moved to Ibiza. The White Island proved to be conducive to his creative faculties, and the artist began sketching out whimsical, Barrett-inspired acoustic sketches on the beach.

Released as ‘Joy Of A Toy’ these recordings are most closely associated with his name. In reality, though, Kevin Ayers career is much too broad to be defined by one album: a psychedelic visionary, a prog pioneer and an acoustic troubadour, the songwriter seemed to wear each mask the counter culture offered.